Recorded Presentation
## Executive Summary Tate is a museum that houses the United Kingdom’s national collection of British art, and international modern and contemporary art. Recently, Tate announced an urgent need for more space. Therefore, for this project we are acting in the role of consultants who are helping the museum inventory its collection in preparation for a possible expansion. Our initial task as consultants is to explore and understand the nature of the artists and the artwork that are available at Tate. Exploring our dataset will help us understand what Tate has, how they should expand their collection, how to diversify the artists and art medium, as well as what types of artwork they can feasibly adde to their collection space-wise.
The two datasets include one dataset that has metadata for around 70,000 artworks that Tate owns or jointly owns with the National Galleries of Scotland, and a dataset with 3,500 associated artists. Some of the artwork attributes contained in this dataset that we used are the country of origin, artwork medium, size, year, and artist. Some of the artist attributes that we used included, year, artworks associated with them, and gender. A full data dictionary description can be seen below.
https://www.kaggle.com/rtatman/the-tate-collection
https://www.kaggle.com/vivianapinto/the-tate-artists
| Feature.Name | Data.Definition |
|---|---|
| id | Unique id assigned to each artist |
| name | Artist name |
| gender | Artist gender |
| dates | Unparsed birth date and death date associated with artist |
| yearOfBirth | Year of artist birth |
| yearOfDeath | Year of artist death |
| placeofBirth | City, Country of Birth |
| placeofDeath | City, Country of Death |
| url | Tate URL associated with artist |
| Feature.Name | Data.Definition |
|---|---|
| id | unique id identifying each piece of artwork |
| accession_number | unique number assigned when artwork was acquired by museum |
| artist | Artist associated with artwork |
| artistRole | The role the artists played in artwork production |
| artistId | Artist ID corresponding to artist dataset |
| title | The title of artwork |
| dateText | Year of artwork (as labeled on artwork) |
| medium | The medium in which the artwork was produced |
| creditLine | Information on acquisition of artwork |
| year | Year of artwork (corresponds to dateText) |
| acquisitionYear | Year artwork was acquired |
| dimensions | Unparsed string describing dimension of artwork |
| width | Width of artwork |
| height | Height of artwork |
| depth | Depth of artwork |
| units | Dimensional units of artwork given in previous fields |
| inscription | Any inscription included in artwork |
| thumnailCopyright | Organization which holds copyright to artwork |
| thumbnailUrl | URL of thumbnail image stored on Tate servers |
| url | URL of artwork image stored on Tate servers |
Before starting our analysis, we need to clean both our artwork and artist data. Our data cleaning process includes:
After our data has been cleaned we merged our dataset, and save it as an r-formatted .rdata file
Here is a subset sample of our cleaned dataset:
| name | gender | dates | yearOfBirth | yearOfDeath | placeOfBirth | city | country | placeOfDeath | title | dateText | medium | year | acquisitionYear | dimensions | width | height |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Abbey, Edwin Austin | Male | 1852-1911 | 1852 | 1911 | Philadelphia, United States | Philadelphia | United States | London, United Kingdom | Illustration to ‘She Stoops to Conquer’ | 1885 | Ink on paper | 1885 | 1924 | support: 267 x 413 mm | 267 | 413 |
| Abbey, Edwin Austin | Male | 1852-1911 | 1852 | 1911 | Philadelphia, United States | Philadelphia | United States | London, United Kingdom | The Letter | 1890 | Ink on paper | 1890 | 1924 | support: 305 x 267 mm | 305 | 267 |
| Abbey, Edwin Austin | Male | 1852-1911 | 1852 | 1911 | Philadelphia, United States | Philadelphia | United States | London, United Kingdom | Illustration to ‘The Leather Bottel’ | 1887 | Ink on paper | 1887 | 1924 | support: 260 x 286 mm | 260 | 286 |
| Abbey, Edwin Austin | Male | 1852-1911 | 1852 | 1911 | Philadelphia, United States | Philadelphia | United States | London, United Kingdom | Illustration to ‘She Stoops to Conquer’ | c.1882-7 | Ink on paper | 1882 | 1924 | support: 251 x 295 mm | 251 | 295 |
| Abbey, Edwin Austin | Male | 1852-1911 | 1852 | 1911 | Philadelphia, United States | Philadelphia | United States | London, United Kingdom | Illustration to ‘Judith Shakespeare’ | 1883 | Ink on paper | 1883 | 1924 | support: 305 x 419 mm | 305 | 419 |
| Abbey, Edwin Austin | Male | 1852-1911 | 1852 | 1911 | Philadelphia, United States | Philadelphia | United States | London, United Kingdom | Illustration to ‘Sally in our Alley’ | 1886 | Ink on paper | 1886 | 1924 | support: 394 x 254 mm | 394 | 254 |
| Abbott, Lemuel Francis | Male | 1760-1803 | 1760 | 1803 | Leicestershire, United Kingdom | Leicestershire | United Kingdom | London, United Kingdom | Portrait of the Engraver Francesco Bartolozzi | date not known | Oil paint on canvas | 1896 | 1968 | support: 756 x 676 mm | 756 | 676 |
| Abbott, Lemuel Francis | Male | 1760-1803 | 1760 | 1803 | Leicestershire, United Kingdom | Leicestershire | United Kingdom | London, United Kingdom | Henry Byne, of Carshalton | date not known | Oil paint on canvas | 1896 | 1885 | support: 737 x 610 mm frame: 935 x 812 x 80 mm | 737 | 610 |
| Agasse, Jacques Laurent | Male | 1767-1849 | 1767 | 1849 | Geneve, Schweiz | Geneve | Schweiz | London, United Kingdom | Two Hunters with a Groom | c.1805 | Oil paint on canvas | 1805 | 1979 | support: 638 x 759 mm frame: 805 x 925 x 87 mm | 638 | 759 |
| Agasse, Jacques Laurent | Male | 1767-1849 | 1767 | 1849 | Geneve, Schweiz | Geneve | Schweiz | London, United Kingdom | Lord Rivers’s Groom Leading a Chestnut Hunter towards a Coursing Party in Hampshire | 1807 | Oil paint on canvas | 1807 | 1979 | support: 660 x 625 mm frame: 849 x 788 x 90 mm | 660 | 625 |
| Alken, Henry Thomas | Male | 1785-1851 | 1785 | 1851 | London, United Kingdom | London | United Kingdom | London, United Kingdom | A Hunting Scene | date not known | Graphite on paper | 1896 | 1997 | support: 96 x 355 mm | 96 | 355 |
| Alken, Henry Thomas | Male | 1785-1851 | 1785 | 1851 | London, United Kingdom | London | United Kingdom | London, United Kingdom | The Belvoir Hunt: The Meet | c.1830-40 | Oil paint on canvas | 1830 | 1979 | support: 451 x 648 mm | 451 | 648 |
| Alken, Henry Thomas | Male | 1785-1851 | 1785 | 1851 | London, United Kingdom | London | United Kingdom | London, United Kingdom | The Belvoir Hunt: The Death | c.1830-40 | Oil paint on canvas | 1830 | 1979 | support: 451 x 648 mm | 451 | 648 |
| Alken, Henry Thomas | Male | 1785-1851 | 1785 | 1851 | London, United Kingdom | London | United Kingdom | London, United Kingdom | The Belvoir Hunt: Jumping into and out of a Lane | c.1830-40 | Oil paint on canvas | 1830 | 1979 | support: 451 x 648 mm | 451 | 648 |
| Alken, Henry Thomas | Male | 1785-1851 | 1785 | 1851 | London, United Kingdom | London | United Kingdom | London, United Kingdom | The Belvoir Hunt: Full Cry | c.1830-40 | Oil paint on canvas | 1830 | 1979 | support: 451 x 648 mm | 451 | 648 |
| Allan, Sir William | Male | 1782-1850 | 1782 | 1850 | Edinburgh, United Kingdom | Edinburgh | United Kingdom | Edinburgh, United Kingdom | Tartar Robbers Dividing Spoil | 1817, exhibited 1817 | Oil paint on mahogany | 1817 | 1847 | support: 641 x 521 mm frame: 919 x 802 x 58mm | 641 | 521 |
| Allen, Joseph William | Male | 1803-1852 | 1803 | 1852 | Lambeth, United Kingdom | Lambeth | United Kingdom | London, United Kingdom | A Landscape | date not known | Oil paint on canvas | 1896 | 1902 | support: 787 x 1206 mm frame: 1156 x 1575 x 240 mm | 787 | 1206 |
| Alma-Tadema, Sir Lawrence | Male | 1836-1912 | 1836 | 1912 | Dronrijp, Nederland | Dronrijp | Nederland | Wiesbaden, Deutschland | A Favourite Custom | 1909 | Oil on wood | 1909 | 1909 | support: 660 x 451 mm frame: 957 x 751 x 83 mm | 660 | 451 |
| Alma-Tadema, Sir Lawrence | Male | 1836-1912 | 1836 | 1912 | Dronrijp, Nederland | Dronrijp | Nederland | Wiesbaden, Deutschland | A Priestess of Apollo | ?c.1888 | Oil paint on canvas | 1888 | 1938 | support: 349 x 298 mm | 349 | 298 |
| Alma-Tadema, Sir Lawrence | Male | 1836-1912 | 1836 | 1912 | Dronrijp, Nederland | Dronrijp | Nederland | Wiesbaden, Deutschland | Sunday Morning | ?1871 | Oil paint on wood | 1871 | 1920 | support: 400 x 330 mm frame: 688 x 622 x 97 mm | 400 | 330 |
| Alma-Tadema, Sir Lawrence | Male | 1836-1912 | 1836 | 1912 | Dronrijp, Nederland | Dronrijp | Nederland | Wiesbaden, Deutschland | A Foregone Conclusion | 1885 | Oil paint on wood | 1885 | 1920 | support: 311 x 229 mm frame: 602 x 525 x 60 mm | 311 | 229 |
| Alma-Tadema, Sir Lawrence | Male | 1836-1912 | 1836 | 1912 | Dronrijp, Nederland | Dronrijp | Nederland | Wiesbaden, Deutschland | A Silent Greeting | 1889 | Oil paint on wood | 1889 | 1894 | support: 305 x 229 mm frame: 563 x 487 x 83 mm | 305 | 229 |
| Amiconi, Giacomo | Male | 1682-1752 | 1682 | 1752 | Napoli, Italia | Napoli | Italia | Madrid, España | Portrait of a Man | date not known | Ink, watercolour and gouache on paper | 1896 | 1997 | support: 203 x 287 mm | 203 | 287 |
| Amiconi, Giacomo | Male | 1682-1752 | 1682 | 1752 | Napoli, Italia | Napoli | Italia | Madrid, España | Mercury About to Slay Argus | 1730-2 | Oil paint on canvas | 1730 | 1971 | support: 655 x 645 mm frame: 730 x 720 x 72 mm | 655 | 645 |
| Anderton, Henry | Male | c.1630-1665 | 1630 | 1665 | NA | Mountain Landscape with Dancing Shepherd | c.1650-60 | Oil paint on canvas | 1650 | 1983 | support: 457 x 597 mm frame: 621 x 761 x 87 mm | 457 | 597 | |||
| Angellis, Peter | Male | 1685-1734 | 1685 | 1734 | Dunkerque, France | Dunkerque | France | Rennes, France | Conversation Piece | c.1715-20 | Oil paint on canvas | 1715 | 1965 | support: 937 x 797 mm | 937 | 797 |
| Ansdell, Richard | Male | 1815-1885 | 1815 | 1885 | Liverpool, United Kingdom | Liverpool | United Kingdom | London, United Kingdom | A Ploughing Match | date not known | Oil paint on canvas | 1896 | 1935 | support: 781 x 1346 mm frame: 915 x 1475 x 93 mm | 781 | 1346 |
| Armitage, Edward | Male | 1817-1896 | 1817 | 1896 | London, United Kingdom | London | United Kingdom | Royal Tunbridge Wells, United Kingdom | The Remorse of Judas | 1866 | Oil paint on canvas | 1866 | 1866 | support: 1276 x 2013 mm frame: 1590 x 2327 x 150 mm | 1276 | 2013 |
| Armstead, Henry Hugh | Male | 1828-1905 | 1828 | 1905 | London, United Kingdom | London | United Kingdom | Remorse | 1903 | Marble | 1903 | 1903 | object: 1029 x 889 x 489 mm | 1029 | 889 | |
| Armstead, Henry Hugh | Male | 1828-1905 | 1828 | 1905 | London, United Kingdom | London | United Kingdom | Hero and Leander | c.1875 | Marble | 1875 | 1906 | object: 1257 x 1829 mm | 1257 | 1829 | |
| Arnald, George | Male | 1763-1841 | 1763 | 1841 | Berkshire, United Kingdom | Berkshire | United Kingdom | View on the Ouse at York | ?exhibited 1803 | Oil paint on canvas | 1803 | 1884 | support: 1118 x 1410 mm frame: 1404 x 1690 x 83 mm | 1118 | 1410 | |
| Atkins, Samuel | Male | 1787-1808 | 1787 | 1808 | NA | Shakespeare’s Cliff, Dover | date not known | Watercolour on paper | 1792 | 1967 | support: 340 x 479 mm | 340 | 479 | |||
| Aumonier, James | Male | 1832-1911 | 1832 | 1911 | NA | Sheep-Washing in Sussex | exhibited 1889 | Oil paint on canvas | 1889 | 1889 | support: 959 x 1657 mm frame: 1330 x 2025 x 155 mm | 959 | 1657 | |||
| Aumonier, James | Male | 1832-1911 | 1832 | 1911 | NA | The Black Mountains | exhibited 1905 | Oil paint on canvas | 1905 | 1905 | support: 1219 x 1829 mm | 1219 | 1829 | |||
| Baily, Edward Hodges | Male | 1788-1867 | 1788 | 1867 | Bristol, United Kingdom | Bristol | United Kingdom | Islington, United Kingdom | The First Duke of Wellington (after Joseph Nollekens) | c.1828-30 | Marble | 1828 | 1847 | object: 787 x 635 x 381 mm | 787 | 635 |
| Baily, Edward Hodges | Male | 1788-1867 | 1788 | 1867 | Bristol, United Kingdom | Bristol | United Kingdom | Islington, United Kingdom | George Canning (after Joseph Nollekens) | 1829 | Marble | 1829 | 1847 | object: 724 x 508 x 279 mm | 724 | 508 |
| Barenger, James | Male | 1780-1831 | 1780 | 1831 | London, United Kingdom | London | United Kingdom | London, United Kingdom | Jonathan Griffin, Huntsman to the Earl of Derby’s Staghounds | 1813 | Oil paint on canvas | 1813 | 1979 | support: 1016 x 1270 mm | 1016 | 1270 |
| Barker, Thomas, of Bath | Male | 1769-1847 | 1769 | 1847 | Pontypool, United Kingdom | Pontypool | United Kingdom | Bath, United Kingdom | Self-Portrait | c.1796 | Oil paint on canvas | 1796 | 1939 | support: 756 x 629 mm | 756 | 629 |
| Barker, Thomas, of Bath | Male | 1769-1847 | 1769 | 1847 | Pontypool, United Kingdom | Pontypool | United Kingdom | Bath, United Kingdom | Getting in Clover: Noon | 1807 | Oil paint on canvas | 1807 | 1878 | support: 660 x 991 mm frame: 952 x 1285 x 132 mm | 660 | 991 |
| Barker, Thomas, of Bath | Male | 1769-1847 | 1769 | 1847 | Pontypool, United Kingdom | Pontypool | United Kingdom | Bath, United Kingdom | Landscape, near Bath | c.1798 | Oil paint on canvas | 1798 | 1926 | support: 815 x 1070 mm | 815 | 1070 |
| Barker, Thomas, of Bath | Male | 1769-1847 | 1769 | 1847 | Pontypool, United Kingdom | Pontypool | United Kingdom | Bath, United Kingdom | The Woodman and his Dog in a Storm | c.1787 | Oil paint on canvas | 1787 | 1868 | support: 2362 x 1486 mm | 2362 | 1486 |
| Barker, Thomas, of Bath | Male | 1769-1847 | 1769 | 1847 | Pontypool, United Kingdom | Pontypool | United Kingdom | Bath, United Kingdom | Landscape | c.1800 | Oil paint on canvas | 1800 | 1854 | support: 762 x 610 mm frame: 941 x 789 x 122 mm | 762 | 610 |
| Barker, Thomas, of Bath | Male | 1769-1847 | 1769 | 1847 | Pontypool, United Kingdom | Pontypool | United Kingdom | Bath, United Kingdom | Landscape with Figures and Sheep | c.1815 | Oil paint on canvas | 1815 | 1890 | support: 813 x 1130 mm frame: 1140 x 1468 x 137 mm | 813 | 1130 |
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Hearnshaes | date not known | Etching and engraving on paper | 1792 | 1997 | image: 93 x 126 mm | 93 | 126 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Engraving and etching on paper | 1828 | 1997 | image: 154 x 219 mm | 154 | 219 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Small Birds, including Pheasants, a Jay and a Swallow | date not known | Watercolour and ink on paper | 1828 | 1996 | support: 150 x 196 mm | 150 | 196 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Engraving and etching on paper | 1834 | 1997 | image: 155 x 219 mm | 155 | 219 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Engraving and etching on paper | 1834 | 1997 | image: 123 x 175 mm | 123 | 175 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Etching and engraving on paper | 1834 | 1997 | image: 128 x 172 mm | 128 | 172 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Teale; Duck; Feasant; Hawke; Cormorant; Bittour; Owle | date not known | Engraving and etching on paper | 1834 | 1997 | image: 209 x 296 mm | 209 | 296 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Cock; Hen; Chicken; Dove | date not known | Engraving and etching on paper | 1834 | 1997 | image: 201 x 290 mm | 201 | 290 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Engraving and etching on paper | 1833 | 1997 | image: 124 x 175 mm | 124 | 175 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Etching and graphite on paper | 1840 | 1997 | image: 124 x 175 mm | 124 | 175 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Title Page: Birds and Fowles of Various Species Drawn after the Life in their Natural Attitudes | date not known | Engraving and etching on paper | 1893 | 1997 | image: 125 x 187 mm | 125 | 187 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Engraving and etching on paper | 1893 | 1997 | image: 126 x 187 mm | 126 | 187 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Engraving and etching on paper | 1893 | 1997 | image: 124 x 186 mm | 124 | 186 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Hawks and Owls | date not known | Watercolour and graphite on paper | 1893 | 1996 | support: 139 x 200 mm | 139 | 200 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Partridge; Feasant; Bustard; Jay; Woodpecker; Magpye; Snipe; Reedsparow; Kings Fisher; Lapwing; Woodcock | date not known | Engraving and etching on paper | 1893 | 1997 | image: 207 x 297 mm | 207 | 297 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Cock, Hen and Sparrows | 1680 | Graphite, ink and watercolour on paper | 1680 | 1997 | support: 132 x 175 mm | 132 | 175 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Engraving and etching on paper | 1734 | 1997 | image: 125 x 189 mm | 125 | 189 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Magpye; Sparrow; Turkye Cock; Dove; Cock; Hen | date not known | Engraving and etching on paper | 1734 | 1997 | image: 208 x 297 mm | 208 | 297 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Woodecockes | date not known | Etching and engraving on paper | 1656 | 1997 | image: 91 x 127 mm | 91 | 127 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Engraving and etching on paper | 1722 | 1997 | image: 123 x 185 mm | 123 | 185 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Engraving and etching on paper | 1868 | 1997 | image: 124 x 188 mm | 124 | 188 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Teale; Duck; Feasant; Hawke; Cormorant; Bittour; Owle | date not known | Engraving and etching on paper | 1876 | 1997 | image: 211 x 296 mm | 211 | 296 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Patriges | date not known | Etching and engraving on paper | 1886 | 1997 | image: 90 x 128 mm | 90 | 128 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Raven, Crowes and Magpyes | date not known | Etching and engraving on paper | 1886 | 1997 | image: 89 x 128 mm | 89 | 128 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Raven, Crowes and Magpyes | date not known | Etching and engraving on paper | 1822 | 1997 | image: 89 x 128 mm | 89 | 128 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Engraving and etching on paper | 1803 | 1997 | image: 124 x 180 mm | 124 | 180 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Engraving and etching on paper | 1891 | 1997 | image: 137 x 195 mm | 137 | 195 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | A Roller, Two Peregrine Falcons and a Long-Eared Owl with her Young | date not known | Oil paint on canvas | 1891 | 1971 | support: 1060 x 1372 mm frame: 1270 x 1580 x 90 mm | 1060 | 1372 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Engraving and etching on paper | 1847 | 1997 | image: 125 x 187 mm | 125 | 187 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Engraving and etching on paper | 1847 | 1997 | image: 124 x 187 mm | 124 | 187 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Engraving and etching on paper | 1818 | 1997 | image: 124 x 186 mm | 124 | 186 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Etching on paper | 1828 | 1997 | image: 125 x 175 mm | 125 | 175 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Lapwinks | date not known | Etching and engraving on paper | 1828 | 1997 | image: 91 x 126 mm | 91 | 126 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Wilde Dookes | date not known | Etching and engraving on paper | 1828 | 1997 | image: 92 x 129 mm | 92 | 129 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Engraving and etching on paper | 1828 | 1997 | image: 206 x 292 mm | 206 | 292 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Herons | date not known | Graphite and watercolour on paper | 1828 | 1996 | support: 139 x 198 mm | 139 | 198 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Engraving and etching on paper | 1828 | 1997 | image: 124 x 175 mm | 124 | 175 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Engraving and etching on paper | 1684 | 1997 | image: 125 x 190 mm | 125 | 190 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Engraving and etching on paper | 1684 | 1997 | image: 157 x 222 mm | 157 | 222 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Hen; Cock; Hawke; Jay; Muscovia Duck; Raven; Cuckoo; Hoopoe | date not known | Engraving on paper | 1684 | 1997 | image: 204 x 293 mm | 204 | 293 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Swans | date not known | Watercolour and graphite on paper | 1684 | 1996 | support: 138 x 197 mm | 138 | 197 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Engraving and etching on paper | 1684 | 1997 | image: 188 x 125 mm | 188 | 125 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Etching and engraving on paper | 1684 | 1997 | image: 92 x 128 mm | 92 | 128 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Engraving and etching on paper | 1684 | 1997 | image: 126 x 176 mm | 126 | 176 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Peacokes | date not known | Etching and engraving on paper | 1684 | 1997 | image: 92 x 129 mm | 92 | 129 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Engraving and etching on paper | 1684 | 1997 | image: 124 x 173 mm | 124 | 173 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Engraving on paper | 1684 | 1997 | image: 153 x 220 mm | 153 | 220 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Title Page: Divers Species of Birds, Drawn after the Life, in their Natural Attitudes | date not known | Engraving and etching on paper | 1684 | 1997 | image: 128 x 187 mm | 128 | 187 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Turkeys | date not known | Watercolour on paper | 1684 | 1996 | support: 139 x 201 mm | 139 | 201 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Ape; Cassowary; Feasant; Ostrich; Swallow; Peacock; Peahen | date not known | Engraving and etching on paper | 1684 | 1997 | image: 208 x 297 mm | 208 | 297 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Etching on paper | 1684 | 1997 | image: 126 x 176 mm | 126 | 176 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Jay; Wood-Pecker; Woodcock; Bittern | date not known | Engraving and etching on paper | 1684 | 1997 | image: 146 x 217 mm | 146 | 217 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Engraving and etching on paper | 1684 | 1997 | image: 126 x 187 mm | 126 | 187 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Engraving and etching on paper | 1684 | 1997 | image: 122 x 168 mm | 122 | 168 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Engraving and etching on paper | 1684 | 1997 | image: 124 x 186 mm | 124 | 186 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Falcon; Heron; Monkey; Vultur; Sea Gull; Eagle | date not known | Engraving and etching on paper | 1684 | 1997 | image: 208 x 296 mm | 208 | 296 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Grebe and Gannets | date not known | Graphite and watercolour on paper | 1684 | 1996 | support: 137 x 199 mm | 137 | 199 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | The Great Tom Tit | date not known | Engraving and etching on paper | 1684 | 1997 | image: 124 x 186 mm | 124 | 186 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Gease | date not known | Etching and engraving on paper | 1684 | 1997 | image: 91 x 127 mm | 91 | 127 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Stags | date not known | Graphite, watercolour and ink on paper | 1684 | 1996 | support: 195 x 250 mm | 195 | 250 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Engraving and etching on paper | 1684 | 1997 | image: 124 x 188 mm | 124 | 188 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Engraving and etching on paper | 1684 | 1997 | image: 125 x 188 mm | 125 | 188 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Engraving and etching on paper | 1684 | 1997 | image: 127 x 183 mm | 127 | 183 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Engraving and etching on paper | 1684 | 1997 | image: 126 x 174 mm | 126 | 174 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | The Bass Island: Soland Goose; Heron; Sea Gull; Wild Duk; Curlew | date not known | Engraving and etching on paper | 1684 | 1997 | image: 206 x 294 mm | 206 | 294 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Woodcocks | date not known | Watercolour on paper | 1684 | 1996 | support: 104 x 138 mm | 104 | 138 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Etching and engraving on paper | 1684 | 1997 | image: 130 x 190 mm | 130 | 190 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Pheasants | date not known | Watercolour and graphite on paper | 1684 | 1996 | support: 138 x 201 mm | 138 | 201 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Engraving and etching on paper | 1684 | 1997 | image: 127 x 190 mm | 127 | 190 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Feasonts | date not known | Etching and engraving on paper | 1684 | 1997 | image: 90 x 125 mm | 90 | 125 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Woodecockes | date not known | Etching and engraving on paper | 1684 | 1997 | image: 91 x 126 mm | 91 | 126 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Engraving and etching on paper | 1684 | 1997 | image: 125 x 178 mm | 125 | 178 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Engraving and etching on paper | 1684 | 1997 | image: 190 x 265 mm | 190 | 265 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Engraving and etching on paper | 1684 | 1997 | image: 127 x 181 mm | 127 | 181 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Diversae Avium Species Studiosissime ad Vitam Delineatae | 1658 | Etching and engraving on paper | 1658 | 1997 | image: 126 x 171 mm | 126 | 171 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Title Page: Animals of Various Species Accurately Drawn | date not known | Engraving and etching on paper | 1684 | 1997 | image: 133 x 175 mm | 133 | 175 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Engraving and etching on paper | 1684 | 1997 | image: 124 x 187 mm | 124 | 187 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Ducks | date not known | Watercolour on paper | 1684 | 1996 | support: 132 x 192 mm | 132 | 192 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Bustard; Peacock; Peahen; Stock Dove; Squirrell | date not known | Engraving and etching on paper | 1684 | 1997 | image: 207 x 294 mm | 207 | 294 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Engraving on paper | 1684 | 1997 | image: 122 x 167 mm | 122 | 167 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Monkeys and Dogs Playing | 1661 | Oil paint on canvas | 1661 | 1989 | support: 1055 x 1320 mm frame: 1229 x 1525 x 85 mm | 1055 | 1320 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Etching and engraving on paper | 1684 | 1997 | image: 127 x 187 mm | 127 | 187 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Engraving and etching on paper | 1684 | 1997 | image: 201 x 298 mm | 201 | 298 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Engraving and etching on paper | 1684 | 1997 | image: 125 x 160 mm | 125 | 160 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Etching and graphite on paper | 1684 | 1997 | image: 126 x 175 mm | 126 | 175 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Japan Peacock; Crane; Toucan; Parrat; Teale; Gambo Goose; Mallard; Pellican of India; B: of Paradice | date not known | Engraving and etching on paper | 1684 | 1997 | image: 206 x 295 mm | 206 | 295 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Patriges | date not known | Etching and engraving on paper | 1684 | 1997 | image: 90 x 128 mm | 90 | 128 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Engraving and etching on paper | 1684 | 1997 | image: 123 x 187 mm | 123 | 187 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Engraving and etching on paper | 1684 | 1997 | image: 126 x 175 mm | 126 | 175 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Engraving and etching on paper | 1684 | 1997 | image: 125 x 186 mm | 125 | 186 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Partridges | date not known | Graphite and watercolour on paper | 1684 | 1996 | support: 96 x 131 mm | 96 | 131 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Wilde Goose; Goose; Gosling; Magpye | date not known | Engraving and etching on paper | 1684 | 1997 | image: 206 x 293 mm | 206 | 293 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Ruffs | date not known | Engraving and etching on paper | 1684 | 1997 | image: 126 x 189 mm | 126 | 189 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Eagles, Hawkes, and Owles | date not known | Engraving and etching on paper | 1684 | 1997 | image: 125 x 186 mm | 125 | 186 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Engraving and etching on paper | 1684 | 1997 | image: 119 x 168 mm | 119 | 168 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Diversae Avium Species Studiosissime ad Vitam Delineatae | date not known | Etching and engraving on paper | 1684 | 1997 | image: 126 x 172 mm | 126 | 172 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Engraving and etching on paper | 1684 | 1997 | image: 125 x 187 mm | 125 | 187 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Engraving and etching on paper | 1684 | 1997 | image: 124 x 186 mm | 124 | 186 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Title Page: Diversae Avium Species Studiosissime ad Vitam Delineatae | date not known | Engraving on paper | 1684 | 1997 | image: 194 x 289 mm | 194 | 289 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Peacocks | date not known | Watercolour on paper | 1684 | 1996 | support: 136 x 196 mm | 136 | 196 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Woodecockes | date not known | Etching and engraving on paper | 1684 | 1997 | image: 92 x 128 mm | 92 | 128 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Engraving and etching on paper | 1684 | 1997 | image: 122 x 186 mm | 122 | 186 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Patriges | date not known | Etching and engraving on paper | 1684 | 1997 | image: 89 x 127 mm | 89 | 127 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Engraving and etching on paper | 1684 | 1997 | image: 126 x 188 mm | 126 | 188 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Engraving and etching on paper | 1684 | 1997 | image: 97 x 159 mm | 97 | 159 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Title Page | date not known | Engraving and etching on paper | 1684 | 1997 | image: 201 x 296 mm | 201 | 296 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Pheasant; Heathcock | date not known | Engraving and etching on paper | 1684 | 1997 | image: 125 x 170 mm | 125 | 170 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | Pegions | date not known | Etching and engraving on paper | 1684 | 1997 | image: 92 x 128 mm | 92 | 128 | ||
| Barlow, Francis | Male | ?1626-1704 | 1626 | 1704 | NA | London, United Kingdom | NA | date not known | Engraving and etching on paper | 1684 | 1997 | image: 125 x 186 mm | 125 | 186 | ||
| Barret, George, Senior | Male | 1728 or 32-1784 | 1728 | 1784 | Dublin, Eire | Dublin | Eire | London, United Kingdom | River Scene with Watermill, Figures and Cows | date not known | Oil paint on canvas | 1684 | 1974 | support: 997 x 1248 mm | 997 | 1248 |
| Barret, George, Senior | Male | 1728 or 32-1784 | 1728 | 1784 | Dublin, Eire | Dublin | Eire | London, United Kingdom | A Woodland Road, with Figures under Large Trees | date not known | Graphite and watercolour on paper | 1684 | 1856 | support: 260 x 421 mm | 260 | 421 |
| Barret, George, Junior | Male | 1767-1842 | 1767 | 1842 | London, United Kingdom | London | United Kingdom | London, United Kingdom | Landscape with a Bridge | date not known | Watercolour and graphite on paper | 1684 | 1974 | support: 498 x 670 mm | 498 | 670 |
| Barret, George, Junior | Male | 1767-1842 | 1767 | 1842 | London, United Kingdom | London | United Kingdom | London, United Kingdom | Coast Scene, Isle of Wight | date not known | Graphite, ink and watercolour on paper | 1684 | 1997 | support: 170 x 245 mm | 170 | 245 |
| Barret, George, Junior | Male | 1767-1842 | 1767 | 1842 | London, United Kingdom | London | United Kingdom | London, United Kingdom | Storm Scene, Isle of Wight | date not known | Watercolour and ink on paper | 1684 | 1997 | support: 172 x 246 mm | 172 | 246 |
| Barret, George, Junior | Male | 1767-1842 | 1767 | 1842 | London, United Kingdom | London | United Kingdom | London, United Kingdom | Composition: Sunset | c.1825-30 | Watercolour and gum arabic on paper | 1825 | 1996 | support: 222 x 183 mm | 222 | 183 |
| Barron, Hugh | Male | 1747-1791 | 1747 | 1791 | NA | The Children of George Bond of Ditchleys | 1768 | Oil paint on canvas | 1768 | 1974 | support: 1060 x 1397 mm frame: 1263 x 1595 x 85 mm | 1060 | 1397 | |||
| Barry, James | Male | 1741-1806 | 1741 | 1806 | Cork, Eire | Cork | Eire | London, United Kingdom | A Grecian Harvest Home | first published 1792 | Etching and line engraving on paper | 1792 | 1983 | image: 470 x 625 mm | 470 | 625 |
| Barry, James | Male | 1741-1806 | 1741 | 1806 | Cork, Eire | Cork | Eire | London, United Kingdom | The Judgment of Paris. Verso: Study for the Same Subject | date not known | Graphite and watercolour on paper. Verso: graphite on paper | 1684 | 1997 | support: 275 x 399 mm | 275 | 399 |
| Barry, James | Male | 1741-1806 | 1741 | 1806 | Cork, Eire | Cork | Eire | London, United Kingdom | The Glorious Sextumvirate | 1795 | Etching and line engraving on paper | 1795 | 1992 | image: 849 x 476 mm | 849 | 476 |
| Barry, James | Male | 1741-1806 | 1741 | 1806 | Cork, Eire | Cork | Eire | London, United Kingdom | Detail of the Diagorides Victors | first published 1795 | Etching and engraving on paper | 1795 | 1983 | image: 770 x 508 mm | 770 | 508 |
| Barry, James | Male | 1741-1806 | 1741 | 1806 | Cork, Eire | Cork | Eire | London, United Kingdom | Elysium and Tartarus | first published 1792 | Etching and line engraving on paper | 1792 | 1992 | image: 420 x 932 mm | 420 | 932 |
| Barry, James | Male | 1741-1806 | 1741 | 1806 | Cork, Eire | Cork | Eire | London, United Kingdom | William Pitt, Earl of Chatham | 1778-1808 | Etching, line engraving and aquatint on paper | 1778 | 1992 | image: 430 x 372 mm | 430 | 372 |
| Barry, James | Male | 1741-1806 | 1741 | 1806 | Cork, Eire | Cork | Eire | London, United Kingdom | Self-Portrait, Three Quarters to Left | date not known | Graphite and ink on paper | 1684 | 1997 | support: 180 x 127 mm | 180 | 127 |
| Barry, James | Male | 1741-1806 | 1741 | 1806 | Cork, Eire | Cork | Eire | London, United Kingdom | Scientists and Philosophers | c.1804-5 | Etching, line engraving and mezzotint on paper | 1804 | 1992 | image: 337 x 329 mm | 337 | 329 |
| Barry, James | Male | 1741-1806 | 1741 | 1806 | Cork, Eire | Cork | Eire | London, United Kingdom | Job Reproved by his Friends | 1777 | Etching, line engraving and aquatint on paper | 1777 | 1992 | image: 568 x 764 mm | 568 | 764 |
| Barry, James | Male | 1741-1806 | 1741 | 1806 | Cork, Eire | Cork | Eire | London, United Kingdom | King Lear Weeping over the Dead Body of Cordelia | 1786-8 | Oil paint on canvas | 1786 | 1962 | support: 2692 x 3670 mm | 2692 | 3670 |
| Barry, James | Male | 1741-1806 | 1741 | 1806 | Cork, Eire | Cork | Eire | London, United Kingdom | The Phoenix or the Resurrection of Freedom | 1776-1808 | Etching, line engraving and aquatint on paper | 1776 | 1992 | image: 433 x 613 mm | 433 | 613 |
| Barry, James | Male | 1741-1806 | 1741 | 1806 | Cork, Eire | Cork | Eire | London, United Kingdom | Jupiter and Juno on Mount Ida | c.1804-5 | Etching, line engraving and mezzotint on paper | 1804 | 1992 | image: 304 x 360 mm | 304 | 360 |
| Barry, James | Male | 1741-1806 | 1741 | 1806 | Cork, Eire | Cork | Eire | London, United Kingdom | The Birth of Venus | 1776-1808 | Etching, line engraving and aquatint on paper | 1776 | 1992 | image: 410 x 582 mm | 410 | 582 |
| Barry, James | Male | 1741-1806 | 1741 | 1806 | Cork, Eire | Cork | Eire | London, United Kingdom | Lord Baltimore and the Group of Legislators | 1793-1808 | Etching and line engraving on paper | 1793 | 1992 | image: 745 x 470 mm | 745 | 470 |
| Barry, James | Male | 1741-1806 | 1741 | 1806 | Cork, Eire | Cork | Eire | London, United Kingdom | King Lear and Cordelia | 1776 | Etching, line engraving and aquatint on paper | 1776 | 1992 | image: 510 x 648 mm | 510 | 648 |
| Barry, James | Male | 1741-1806 | 1741 | 1806 | Cork, Eire | Cork | Eire | London, United Kingdom | The Distribution of Premiums in the Society of Arts | first published 1792 | Etching and engraving on paper | 1792 | 1983 | image: 430 x 528 mm | 430 | 528 |
| Barry, James | Male | 1741-1806 | 1741 | 1806 | Cork, Eire | Cork | Eire | London, United Kingdom | The Distribution of Premiums in the Society of Arts | first published 1792 | Etching and line engraving on paper | 1792 | 1992 | image: 420 x 504 mm | 420 | 504 |
| Barry, James | Male | 1741-1806 | 1741 | 1806 | Cork, Eire | Cork | Eire | London, United Kingdom | King George and Queen Charlotte | first published 1792 | Etching and line engraving on paper | 1792 | 1992 | image: 427 x 516 mm | 427 | 516 |
| Barry, James | Male | 1741-1806 | 1741 | 1806 | Cork, Eire | Cork | Eire | London, United Kingdom | Philoctetes in the Island of Lemnos | 1777-1808 | Etching, line engraving and aquatint on paper | 1777 | 1992 | image: 454 x 372 mm | 454 | 372 |
| Barry, James | Male | 1741-1806 | 1741 | 1806 | Cork, Eire | Cork | Eire | London, United Kingdom | Divine Justice | c.1802 | Etching and line engraving on paper | 1802 | 1992 | image: 752 x 504 mm | 752 | 504 |
| Barry, James | Male | 1741-1806 | 1741 | 1806 | Cork, Eire | Cork | Eire | London, United Kingdom | Queen Isabella, Las Casas and Magellen | 1800-8 | Etching and line engraving on paper | 1800 | 1992 | image: 721 x 125 mm | 721 | 125 |
| Barry, James | Male | 1741-1806 | 1741 | 1806 | Cork, Eire | Cork | Eire | London, United Kingdom | The Fall of Satan | 1777-1808 | Etching, line engraving and aquatint on paper | 1777 | 1992 | image: 844 x 610 mm | 844 | 610 |
| Barry, James | Male | 1741-1806 | 1741 | 1806 | Cork, Eire | Cork | Eire | London, United Kingdom | Satan and his Legions Hurling Defiance toward the Vault of Heaven | c.1792-1808 | Etching on paper | 1792 | 1992 | image: 865 x 508 mm | 865 | 508 |
| Barry, James | Male | 1741-1806 | 1741 | 1806 | Cork, Eire | Cork | Eire | London, United Kingdom | Reserved Knowledge | 1795-1808 | Etching and line engraving on paper | 1795 | 1992 | image: 737 x 474 mm | 737 | 474 |
| Barry, James | Male | 1741-1806 | 1741 | 1806 | Cork, Eire | Cork | Eire | London, United Kingdom | Study for ‘Philoctetes on the Island of Lemnos’ | 1770 | Ink and watercolour on paper | 1770 | 1996 | support: 210 x 286 mm | 210 | 286 |
| Barry, James | Male | 1741-1806 | 1741 | 1806 | Cork, Eire | Cork | Eire | London, United Kingdom | Orpheus | first published 1792 | Etching and line engraving on paper | 1792 | 1992 | image: 416 x 498 mm | 416 | 498 |
| Barry, James | Male | 1741-1806 | 1741 | 1806 | Cork, Eire | Cork | Eire | London, United Kingdom | The Thames, or the Triumph of Navigation | first published 1792 | Etching and line engraving on paper | 1792 | 1992 | image: 421 x 505 mm | 421 | 505 |
| Barry, James | Male | 1741-1806 | 1741 | 1806 | Cork, Eire | Cork | Eire | London, United Kingdom | Study of a Nude Recumbent Woman | date not known | Chalk and ink on paper | 1684 | 1996 | support: 335 x 526 mm | 335 | 526 |
| Barry, James | Male | 1741-1806 | 1741 | 1806 | Cork, Eire | Cork | Eire | London, United Kingdom | Crowning the Victors at Olympia | first published 1792 | Etching on paper | 1792 | 1992 | image: 415 x 973 mm | 415 | 973 |
| Barry, James | Male | 1741-1806 | 1741 | 1806 | Cork, Eire | Cork | Eire | London, United Kingdom | Satan, Sin and Death | c.1792-1808 | Etching on paper | 1792 | 1992 | image: 563 x 423 mm | 563 | 423 |
| Barry, James | Male | 1741-1806 | 1741 | 1806 | Cork, Eire | Cork | Eire | London, United Kingdom | The Temptation of Adam | 1776-c.1790 | Etching, line engraving and aquatint on paper | 1776 | 1992 | image: 633 x 404 mm | 633 | 404 |
| Barry, James | Male | 1741-1806 | 1741 | 1806 | Cork, Eire | Cork | Eire | London, United Kingdom | The Conversion of Polemon | 1778-1808 | Etching, line engraving and aquatint on paper | 1778 | 1992 | image: 576 x 859 mm | 576 | 859 |
| Barry, James | Male | 1741-1806 | 1741 | 1806 | Cork, Eire | Cork | Eire | London, United Kingdom | Pandora | c.1804-8 | Etching and line engraving on paper | 1804 | 1992 | image: 640 x 944 mm | 640 | 944 |
| Barry, James | Male | 1741-1806 | 1741 | 1806 | Cork, Eire | Cork | Eire | London, United Kingdom | The Angelic Guards | c.1802 | Etching and line engraving on paper | 1802 | 1992 | image: 852 x 502 mm | 852 | 502 |
| Barry, James | Male | 1741-1806 | 1741 | 1806 | Cork, Eire | Cork | Eire | London, United Kingdom | Sacra Christi Familia | c.1776-1808 | Etching, line engraving and aquatint on paper | 1776 | 1992 | image: 354 x 255 mm | 354 | 255 |
| Barry, James | Male | 1741-1806 | 1741 | 1806 | Cork, Eire | Cork | Eire | London, United Kingdom | The Thames, or the Triumph of Navigation | first published 1792 | Etching and engraving on paper | 1792 | 1983 | image: 457 x 562 mm | 457 | 562 |
| Barry, James | Male | 1741-1806 | 1741 | 1806 | Cork, Eire | Cork | Eire | London, United Kingdom | Elysium and Tartarus | first published 1792 | Etching and engraving on paper | 1792 | 1983 | image: 524 x 925 mm | 524 | 925 |
| Barry, James | Male | 1741-1806 | 1741 | 1806 | Cork, Eire | Cork | Eire | London, United Kingdom | Detail of the Diagorides Victors | 1795-1808 | Etching and line engraving on paper | 1795 | 1992 | image: 852 x 474 mm | 852 | 474 |
| Bateman, James | Male | 1815-1849 | 1815 | 1849 | NA | Highland Scene | 1844 | Oil paint on wood | 1844 | 1981 | support: 203 x 254 mm | 203 | 254 | |||
| Bates, Harry | Male | 1850-1899 | 1850 | 1899 | Stevenage, United Kingdom | Stevenage | United Kingdom | Saint John’s Wood, United Kingdom | Pandora | exhibited 1891 | Marble, ivory and bronze on marble base | 1891 | 1891 | object: 1060 x 540 x 785mm | 1060 | 540 |
| Bates, Harry | Male | 1850-1899 | 1850 | 1899 | Stevenage, United Kingdom | Stevenage | United Kingdom | Saint John’s Wood, United Kingdom | Sketch for War | 1887 | Plaster | 1887 | 1900 | object: 546 x 267 x 89 mm | 546 | 267 |
We began by performing some exploratory data analysis on the artists in our datset. We attempted to answer some general questions shown below. This then led to some interesting findings which guided our hypothesis tests which helped inform our recommendation that although the Tate Museum has been acquiring a higher percentage of artwork by female artists, it is not closing the gap nearly fast enough. We then continued to do exploratory data analysis on the artwork in hopes of finding a correlation that can help us in identifying forms of artwork that are better represented by female artists.
In our exploratory phase we found that altogether 3337 artists are represented at Tate, totalling 69201 pieces of art. The art acquisiton started in 1823 up until 2013 (this dataset only shows records until 2013). The era of the artwork ranges from 1532 to 2012. Tate Modern is arguably regarded as one of the biggest contemporary art institution in the world.
The top 10 most represented artists are shown below, with Turner, Joseph Mallord William leading the way with 39389 art pieces. The artwork from Turner, Joseph Mallord William far exceeds any other artist, and is nearly 20 times as much as even the 10th most represented artist, Warhol, Andy. It seems that Tate has obvious preferances in its choice of artists and artwork. Recognizing this preferance can help inform us on how to expand Tate’s art collection in the future. The summary of artist representation shows how bias the Tate collection is, and can help motivate an move towards diversification.
| artist | count |
|---|---|
| Turner, Joseph Mallord William | 39389 |
| Jones, George | 1046 |
| Moore, Henry, OM, CH | 623 |
| Daniell, William | 612 |
| Beuys, Joseph | 578 |
| British (?) School | 388 |
| Paolozzi, Sir Eduardo | 385 |
| Flaxman, John | 287 |
| Phillips, Esq Tom | 274 |
| Warhol, Andy | 272 |
The bias in artist representation then led us to question the gender distribution of artists. What we found was a huge gap between male and female artists. Male artists contributed 65872 pieces of the artwork, while female artist account for only 2756 pieces of art. This shocking descrepancy motivated a deeper look at this gender difference.
## Female Male NA's
## 2756 65872 767
This led us to question whethere this gap between male and female art acquisition was growing or shrinking throughout the years. To investigate this we found the number of artworks acquired per year (acsquisition year), and graphed it corresponding to gender of the artist. The graph below shows the results of this investigation. (We limited our acquisitiony year to the 20th century, because we found the data prior to 1900 to be very incomplete).
In our plot above, we see an upward trend in the number of art pieces acquired throughout the years, but it is not immediately clear whether Tate is closing the gap between male and female artwork acquired, as artwork from both genders have grown in the 20th century. To investigate this further we calculated the difference in artwork acquired as well as the percentage difference in art acquisition by gender, and set our hypothesis that…
The two graphs below tell us an interesting story. The number of male artwork acquired continues to out number female artwork, and is in fact growing. However, female artwork is actually growing as a percentage of all newly acquired art.
We found that since 1900, there has been a slight increase in the percent of female artwork acquired each year. The percent increase (or decrease of male dominance) is however, a slight 0.261%. If we consider the fact that in 1900, male artwork accounted for 6 times as much as female artwork, this slight increase is simply not happening fast enough. Our conclusion is therefore, that more effort needs to be made to procure female artwork if Tate hopes to create a more diverse representation of artists.
lm.differenceOfPercentage.years<-lm(Gendergap_new$DifferenceOfPercentage~Gendergap_new$acquisitionYear)
anova(lm.differenceOfPercentage.years)
## Analysis of Variance Table
##
## Response: Gendergap_new$DifferenceOfPercentage
## Df Sum Sq Mean Sq F value Pr(>F)
## Gendergap_new$acquisitionYear 1 0.83799 0.83799 51.807 7.449e-11 ***
## Residuals 112 1.81164 0.01618
## ---
## Signif. codes: 0 '***' 0.001 '**' 0.01 '*' 0.05 '.' 0.1 ' ' 1
The most common art media at Tate by far was Graphite on paper, accounting for 26167 pieces. While the second highest, Oil paint on canvas represented only 3383, which is only one fifth of the latter. To our surprise, Photograph, gelatin silver print on paper, a relatively a new art form, was within the top 10 with 751 pieces at Tate. Since the media surface types are so specific, we would like to find broader range categories (i.e. on paper, on wood, etc.)
| medium | count |
|---|---|
| Graphite on paper | 26167 |
| Oil paint on canvas | 3383 |
| Screenprint on paper | 2984 |
| Lithograph on paper | 2721 |
| Watercolour on paper | 1890 |
| Etching on paper | 1793 |
| Graphite and watercolour on paper | 1680 |
| Ink on paper | 881 |
| Intaglio print on paper | 820 |
| Photograph, gelatin silver print on paper | 751 |
But we felt the media type was too specific, in fact there were 3401 unique types of media represented at Tate, far too many for reasonable regression. Instead we felt splitting the artwork to the material and the surface would give us a better understanding of the inventory, which we believe could be used for further analysis linking to gender (see last section). So we parsed the media field into materials and surface. The table of different surfaces are shown below.
| material | count |
|---|---|
| Graphite | 26323 |
| Oil paint | 4301 |
| Screenprint | 3087 |
| Lithograph | 2766 |
| Watercolour | 1930 |
| Etching | 1834 |
| Graphite and watercolour | 1730 |
| Ink | 959 |
| Photograph, gelatin silver print | 821 |
| Intaglio print | 820 |
| surface | count |
|---|---|
| on paper | 53405 |
| on canvas | 3806 |
| Bronze | 384 |
| on board | 346 |
| Copper plate | 319 |
| on wood | 283 |
| on paper. Verso: graphite on paper | 211 |
| on on paper | 125 |
| on hardboard | 83 |
| on mahogany | 79 |
As we are consulting Tate museum on their expansion, the sizes of the artwork is of importance to us, since space limitations are a concern, as is the era of the artwork. The quantile distributions are shown below, and generally speaking our analysis showed that about half of our artwork is distributed before 1831 and half after, and that the median artwork size was 27160 mm2.
Note:This exploratory analysis of our artwork inventory led of us our next hypothesis. We wanted to consider the possibility of correlating certain artwork features to a specific artist gender (namely female). If we can build a model that correlates features to female artists we can then advise Tate to seek out artwork with those requirements to increase the gender diversity.
Before our data modeling we must transform our data to be used for machine learning. Because some of our categorical features (surface, media, country) have hundreds, if not thousands of different categories we have to reduce our categories to a reasonable size to output an interpretable result. Fortunately from our exploratory analysis above, we can see that the top 5 categories of these features account for roughly 85% to 90% of all our data. This then allows us to group the remaining categories into one group that we are calling ‘other’ (for reach feature).
We created a function to do just that. The function ‘category_reduce’ takes our dataframe, the feature to reduce, and the number of categories we want for that resultant feature. We use this function to reduce “country,” “media,” and “surface” to the top 5 categories before our machine learning modeling.
# Takes a dataframe and reduces the feature given by col_name to the top
# num_cat number of categories.
category_reduce <- function (data, col_name, num_cat = 5){
temp <- data %>%
group_by_(col_name) %>%
dplyr::summarize(count = n()) %>%
arrange(desc(count)) %>%
slice(1:num_cat)
temp <- as.vector(temp[[1]])
data <- data %>%
mutate(temp_col = ifelse(!(data[[col_name]] %in% temp),
" Other",
as.character(data[[col_name]])))
data[col_name] <- data$temp_col
data <- subset(data, select = -temp_col)
data[col_name] <- as.factor(data[[col_name]])
return(data)
}
Because a number of our categorical features had hundreds if not thousands of categories, but were heavily skewed towards the top. The function above helps us reduce the categories within each categorical feature group (by grouping all the other items as ‘other’) to a managable level before we used it to train our model Generalized Linear Model. We decided a reduction to the top 5 countries, the top 10 surfaces, and the top 10 media, before training our model.
The code below shows how we trained our model to detect gender based on ‘country’, ‘year’, ‘surface’, ‘media’, and artwork ‘dimension.’ With the results shown below.
model.fit <- glm(formula = gender ~ ., data = analysis_data, family = binomial())
prediction <- predict(model.fit, type = "response")
female_art <- rep("Female", nrow(analysis_data))
female_art[prediction > .5] <- "Male"
female_art <- as.factor(female_art)
truth <- as.character(analysis_data$gender)
predicted <- as.character(female_art)
# truth <- c(temp)
# predicted <- c(temp2)
# Count is the number of female artists that our model predicted correctly
count <- 0
for (i in 1:length(truth)){
if(truth[i] == "female" & predicted[i] == "female"){
count <- count + 1
}
}
summary(model.fit)
##
## Call:
## glm(formula = gender ~ ., family = binomial(), data = analysis_data)
##
## Deviance Residuals:
## Min 1Q Median 3Q Max
## -4.2730 0.0530 0.0680 0.2696 0.9979
##
## Coefficients:
## Estimate Std. Error z value
## (Intercept) 4.916e+01 1.504e+00 32.689
## year -2.373e-02 7.557e-04 -31.404
## country Eire -2.107e-01 2.989e-01 -0.705
## country France -1.083e+00 1.774e-01 -6.106
## country Other -6.166e-01 1.126e-01 -5.475
## country United Kingdom -8.276e-01 1.047e-01 -7.904
## country United States -1.007e+00 1.130e-01 -8.907
## area 3.126e-08 1.237e-08 2.528
## surfaceBronze -2.727e-01 1.754e-01 -1.555
## surfaceCopper plate 1.227e+01 2.213e+02 0.055
## surfaceon board 4.861e-02 2.119e-01 0.229
## surfaceon canvas 1.346e-02 1.256e-01 0.107
## surfaceon hardboard 3.450e-01 3.598e-01 0.959
## surfaceon mahogany 1.299e+01 4.532e+02 0.029
## surfaceon on paper -1.395e-01 3.160e-01 -0.441
## surfaceon paper 2.670e-01 7.210e-02 3.703
## surfaceon paper. Verso: graphite on paper -1.875e+00 4.137e-01 -4.531
## surfaceon wood 4.140e-01 3.621e-01 1.143
## mediaEtching 1.239e+00 1.315e-01 9.423
## mediaGraphite 1.136e+00 1.700e-01 6.685
## mediaGraphite and watercolour -3.631e-01 2.586e-01 -1.404
## mediaIntaglio print 1.764e+00 2.849e-01 6.191
## mediaLine engraving 1.245e+01 1.579e+02 0.079
## mediaLithograph 5.437e-02 7.256e-02 0.749
## mediaOil paint -7.563e-02 1.244e-01 -0.608
## mediaPhotograph, gelatin silver print 2.365e-02 1.108e-01 0.213
## mediaScreenprint 1.293e+00 9.975e-02 12.968
## mediaWatercolour -1.321e-01 2.443e-01 -0.541
## Pr(>|z|)
## (Intercept) < 2e-16 ***
## year < 2e-16 ***
## country Eire 0.480819
## country France 1.02e-09 ***
## country Other 4.38e-08 ***
## country United Kingdom 2.69e-15 ***
## country United States < 2e-16 ***
## area 0.011482 *
## surfaceBronze 0.119982
## surfaceCopper plate 0.955804
## surfaceon board 0.818520
## surfaceon canvas 0.914686
## surfaceon hardboard 0.337650
## surfaceon mahogany 0.977140
## surfaceon on paper 0.658942
## surfaceon paper 0.000213 ***
## surfaceon paper. Verso: graphite on paper 5.86e-06 ***
## surfaceon wood 0.252901
## mediaEtching < 2e-16 ***
## mediaGraphite 2.32e-11 ***
## mediaGraphite and watercolour 0.160272
## mediaIntaglio print 5.98e-10 ***
## mediaLine engraving 0.937141
## mediaLithograph 0.453674
## mediaOil paint 0.543181
## mediaPhotograph, gelatin silver print 0.830997
## mediaScreenprint < 2e-16 ***
## mediaWatercolour 0.588638
## ---
## Signif. codes: 0 '***' 0.001 '**' 0.01 '*' 0.05 '.' 0.1 ' ' 1
##
## (Dispersion parameter for binomial family taken to be 1)
##
## Null deviance: 18238 on 56712 degrees of freedom
## Residual deviance: 13195 on 56685 degrees of freedom
## AIC: 13251
##
## Number of Fisher Scoring iterations: 16
What the results of our model above tells us is that training a model to identify gender based off of the features we used above simply is not very effective in identifying female artists. Few of the features are statistically significant and when we did a cross-validation of the trained models accuracy we found that it made 0 predictions of female artists. That is, there were no permutation of features sets where female artists were more represented in than male artists. The bottom line is that if we want to acquire more female artwork it is very difficult to seek it out through the medium of artwork, the country of origin, the year of production, or the size of the artwork (or any combination of those 4 things). The only way to cultivate gender diversity is to support more female artists.
In conclusion, what we found was that there exists a significant gender gap in the artwork that is represented at the Tate. And although the representation of female artists has grown, as a percentage of newly acquired art, it is simply growing too slowly (.2% per year) to reach 50/50 parity anytime soon. We also fonud that trying to identify female artwork through a number of combined features is impossible, therefore we could not simply focus on artwork that is say ‘from the UK, in the 1870’s, of a particular medium,’ to find more female artists. Male artists, at least in the genre represented by Tate, is dominated by men.
This leads us to conclude that if Tate wants to improve gender diversity in its art collection, it needs to make explicit attempts at finding female artists, and unapologetically acknowledge that, regardless of medium, origin, or era, they want female artwork.